Film Screenings / Programs / Retrospectives
WILLIAM KLEIN, PART 2
August 11 – August 24
On the occasion of the International Center of Photography (ICP)’s new exhibition, “William Klein: YES – Photographs, Paintings, Films, 1948-2013”, Anthology hosts screenings of a selection of Klein’s extraordinary films. Though he remains best known for his photographic work (despite a resurgence of interest in his moving-image work in recent years), Klein has made numerous films over the course of his career, which run the gamut from short and feature-length documentaries to peerlessly inventive fictional satires, as well as uncategorizable works such as his globe-spanning, Handel-themed essay film MESSIAH. Dizzyingly eclectic as they are, Klein’s films are united by the same sensibility that distinguishes his photography, which itself encompasses both street and fashion photography: above all, a unique fusion of the penetrating journalistic eye of Weegee, Robert Frank, Helen Levitt, and others, and an unbridled, savagely satirical expressionism that’s more reminiscent of an artist like George Grosz.
“The case of William Klein, whose film work has received negligible commentary (especially in English), can partially be explained by pointing to the things he is not – or at least not quite. He is not quite ‘American’ – although he was born in New York City in 1928, grew up near the intersection of 108th Street and Amsterdam Avenue, and has devoted a substantial part of his film work to American subjects. He is not quite ‘French’ – although he moved to Paris in 1948 to study painting with Fernand Léger and has been based there ever since. He began making films in the late 1950s, around the same time the French New Wave was gaining prominence, and he might provisionally be regarded as a member of the so-called Left Bank group, which included Chris Marker, Alain Resnais, and Agnes Varda. Nonetheless, he is rarely mentioned in books and surveys about the New Wave or about French cinema in general. And although his first documentaries, from the early 1960s, are contemporaneous with the rise of cinéma-vérité, he does not really belong in the ranks of that movement either. Better known as a still photographer, Klein has occupied a kind of no-man’s-land in the world of film; indeed, his importance in part derives from his capacity to straddle and confound conventional categories in both media.” –Jonathan Rosenbaum, CINEMA OUTSIDER: THE FILMS OF WILLIAM KLEIN (1989)
Curated by David Campany, “William Klein: YES – Photographs, Paintings, Films, 1948-2013” is on view at the International Center of Photography through September 12, 2022; for more info visit: www.icp.org/exhibitions/william-klein-yes
With the exception of MAY DAYS, all exhibition copies are from the Walker Art Center’s Ruben/Bentson Moving Image Collection. Special thanks to William Klein; Jacque Donaldson Bailey (ICP); Brian Belovarac (Janus Films); David Campany; Audrey Kamga, Whitney Marin, and Sophie Soghomonian (ARTE France); Tiffanie Pascal; Bruno Ryterband; Vincent Sacripanti (KUIV); and Michael Walsh (Walker Art Center).
In addition to the regularly-priced tickets, we will be offering a special AFA + ICP Museum Combo Ticket option during the William Klein retrospective. Priced at $24, this ticket will cover a single screening of one of the William Klein films, plus discount admission to the International Center of Photography to view "William Klein: YES; Photographs, Paintings, Films, 1948–2013". Combo Ticket holders can show their ticket receipt or ticket stub at ICP for admission to the exhibition, which focuses on Klein’s fashion, abstract, and street photography, films, and paintings.
